The Australian Zak Hilditch disaster is “We Bury The Dead” with how much it wants to be a coma. It is the most exciting and exciting when it approaches the outdated sub -type with completely new cycles, which leads to painful scenes that open a cinematic window in the darkest and most mysterious in the human state. Unfortunately, it continues to return towards traditional horror lands quickly, which leads to an unbalanced structure and semi -baked philosophical reflections against exciting moments.
With the minimum budget, “we bury the dead” creates an immediate feeling of size and scene, starting with its central hypothesis, as the United States mistakenly deploys a pilot weapon for comprehensive destruction off the southern coast of Australia. EMP has widespread up to half a million people by closing their brains-only for unknown reasons, some of them returning “online”, in conclusion of any character, but with their basic instincts intact.
It follows the complex of the intense body of the army, in which an American woman, Ava Newman (Desi Ridley), travels to Tasmania, hoping to find her visiting husband, Mitch (Matt Willan), or any copy of it has survived. AVA is paired with wild wild mud with wild hair, responsible for collecting the bodies of people who suffer from a week of their homes and alerting nearby soldiers if any of them shows signs of life.
The first time that one of this body coincides with – a man standing is still completely fixed, his vacant pupil picks up – the film decreases his finger to an interesting area. Instead of investigating these persons to obtain signs of intelligence or memory, the Australian army acts with them simply with a bureaucratic cruelty: through a bullet to the brain. However, with the knowledge of her unknown condition (and therefore, unknown about the situation in which her husband may find), the eyes of the “zombie” have become frighteningly attractive, as the camera remains immersed in Ridley’s fear and curiosity.
However, before the film can really approach this puzzle from the place where consciousness ends and death begins, the dead begins walking, and ultimately enhances you, which represents a disappointing exit from the approach of the new movie apparently to Undad. However, even this traditional turn feels incomplete. While Ava hits the south with the help of amazing clay, and previous military inspection points towards the resort in which her husband was seen last time, the unlikely duo avoids the “infantry” who try to protect her, or a cup of this type that lasted for decades thanks to the implicit understanding of the zombie bite on a virus, or some of these microbes, and this will lead to “TURNBE”. “We bury the dead” has no such mechanism, and never depicts an example of the type of massacre that may try AVA and Clay escaping, so horror elements usually fall.
However, even in the most embarrassing turns, the film finds moments of original lamentation. At some point, a lost soldier, Riley (Mark Colls Smith) joins the duo, who apparently be overwhelmed by sadness, but also because of the lack of closure – the thing that AFA seeks. Smith turns into an incredibly twisted performance, watching Riley’s terrifying dilemma, which comes out of another emotional mystery about what might lie at the end of the Ava trip.
Unfortunately, through the repercussions such as these, found in other people – both are alive and death – we get to know AVA at all. Selection through people’s home wreckage becomes an opportunity to think about life that you can enjoy (certainly more than the movie’s actual memories of the film, which is often mysterious from the drama you suffer from and Mitch). Ridley is also struggling with her American accent at times, and it is not a problem in itself – accents come in all shapes and sizes – but it leads to most of her words, and thus her emotions, is strange in a strange way, as if all her efforts were going to appear. It is at its best when it does not speak Ava at all, allowing the constant basis of the character behind her eyes.
The most powerful moments of the movie leaves a mark, although it is few and far apart, although it stands out in a large part due to the degree of Chris Clark, which works practically like the audio path during the silent moments. His strengths also guarantees that regardless of being “we bury the dead”, at least it remains to be seen in most of his operation, even because he ignores his most wonderful ideas in favor of safe and familiar ideas.